Chicago Rhythm Kings: There’ll Be Some Changes Made

There is a good bit of sophistication here, albeit carved somewhat rudely . . . as was intended. The rhythmic drive is aimed more downward rather than sailing forth. The emphasis of four beats per measure with a wallop on beats two and three may have seemed a bit unsettling to some more used to a lilt to their jazz. But this makes the occasional sudden accent on beat four all the more fun. Red McKenzie, an underappreciated vocalist sounds suave and assured. Notice the emphasis on beat 2, every other measure behind his vocal. Teschemacher, often thought of as an unschooled and out-of-tune player reminds us here that behind the somewhat out-of-control vibrato is a musician very close in concept to Bix Beiderbecke. Despite what critics may have said about it, this disc was a good seller and a great influence on budding jazz musicians.

November 07, 2007 · 0 comments


New Orleans Rhythm Kings: San Antonio Shout

NORK's lineup changed many times through the 1930s, and they retained the name even after they took up the Chicago style of improvisation. This fine later group boasts one-armed trumpeter Wingy Manone up front. True to the Chicago spirit, the vibrant Manone interweaves the cheerful but spare melody between the improvised backup of Sid Arodin and the grand George Brunies. Sound quality is as good as one can expect from 1935; the bass is felt more than heard, but drum bombs hit with perfect oomph and the piano glistens.

October 19, 2007 · 0 comments


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